Yamaha PSR-S670 Reference Manual page 38

NTR (Note Transposition Rule)
ROOT TRANS
(Root Transpose)
ROOT FIXED
GUITAR
NTT (Note Transposition Table)
2
When NTR is set to ROOT TRANS or ROOT FIXED
BYPASS
MELODY
CHORD
MELODIC MINOR
MELODIC MINOR 5th
HARMONIC MINOR
HARMONIC MINOR
5th
NATURAL MINOR
NATURAL MINOR 5th
DORIAN
DORIAN 5th
38
PSR-S670 Reference Manual
When the root note is transposed, the interval
between notes is maintained. For example, the notes
C3, E3 and G3 in the key of C become F3, A3 and
C4 when they are transposed to F. Use this setting for
channels that contain melody lines.
The note is kept as close as possible to the previous
note range. For example, the notes C3, E3 and G3 in
the key of C become C3, F3 and A3 when they are
transposed to F. Use this setting for channels that
contain chord parts.
This is exclusively for transposing guitar accompaniment. Notes are transposed
to approximate the chords played with natural guitar fingering.
When NTR is set to ROOT FIXED, the transposition table used does not do any
note conversion. When NTR is set to ROOT TRANS, the table used only con-
verts the notes by maintaining the pitch relationship between notes.
Suitable for melody line transposition. Use this for melody channels such as
Phrase 1 and Phrase 2.
Suitable for chordal parts transposition. Use this for the Chord 1 and Chord 2
channels, especially when they contain piano or guitar-like chordal parts.
When the played chord changes from a major to a minor chord, this table low-
ers the third interval in the scale by a semitone. When the chord changes from a
minor to a major chord, the minor third interval is raised by a semitone. Other
notes are not changed. Use this for melody channels of Sections which respond
only to major/minor chords, such as Intros and Endings.
In addition to the Melodic Minor transposition above, augmented and dimin-
ished chords affect the 5th note of the Source Pattern.
When the played chord changes from a major to a minor chord, this table low-
ers the third and sixth intervals in the scale by a semitone. When the chord
changes from a minor to a major chord, the minor third and flatted sixth inter-
vals are raised by a semitone. Other notes are not changed. Use this for chord
channels of Sections which respond only to major/minor chords, such as Intros
and Endings.
In addition to the Harmonic Minor transposition above, augmented and dimin-
ished chords affect the 5th note of the Source pattern.
When the played chord changes from a major to a minor chord, this table low-
ers the third, sixth and seventh intervals in the scale by a semitone. When the
chord changes from a minor to a major chord, the minor third, flatted sixth and
flatted seventh intervals are raised by a semitone. Other notes are not changed.
Use this for chord channels of Sections which respond only to major/minor
chords such as in Intros and Endings.
In addition to the Natural Minor transposition above, augmented and dimin-
ished chords affect the 5th note of the Source pattern.
When the played chord changes from a major to a minor chord, this table low-
ers the third and seventh intervals in the scale by a semitone. When the chord
changes from a minor to a major chord, the minor third and flatted seventh
intervals are raised by a semitone. Other notes are not changed. Use this for
chord channels of Sections which respond only to major/minor chords such as
in Intros and Endings.
In addition to the Dorian transposition above, augmented and diminished
chords affect the 5th note of the Source pattern.
When playing When playing
a C major an F major
chord. chord.
When playing When playing
a C major an F major
chord. chord.